Skin + Bones: Parallel Practices in Fashion and Architecture
Los Angeles, California, USA
On view: January 08, 2007 - March 05, 2007
Skin + Bones explores the parallels between the "skin" -
or exterior surface - and the "bones" - or structural framework -
of both clothing and buildings of the past 25 years.
A dramatic tensile canopy, beginning at the low wall by the sidewalk, stretches up to attach to the permanent awning covering ARCO Court, then swoops down to highlight the museum's entrance.
Since the 1980s, a growing number of avant-garde designers have
come to approach garments as architectonic constructions, while
many in the field of architecture have boldly embraced new forms
and materials. These developments are due in part to numerous
technological advances that have revolutionized both the design and
construction of buildings and made techniques like pleating,
seaming, folding, and draping part of the architectural
I consider clothing not only as a metaphor for shelter and social space, but mainly as a case study for architectural cladding systems./Elena Manferdini
High-fashion brands that commision architects expand the possibliliies for new architecture. Are these not the new roles to be expected from combining business, contemporary art, and architecture?/Toyo Ito
Forty-five of today's most creative fashion designers and
architects are represented by a wide range of more than 300
objects: from one-of-a-kind haute couture gowns to intricate
architectural models and special full-scale installations.
"Creative Process" highlights the parallels in the working methods of architect Frank Gehry and fashion designer Narciso Rodriguez.
Architecture has been a constant source of inspiration for my work throughout my career. An architect's thought process, his choice of materials, the combination of these materials to create a structure, and the practicality and function of a structure are all things that I try to incorporate in my own work./Narciso Rodriguez
"Structural Skin" shows buildings and clothing in which the
surface and structure become one. "Constructing Volume" highlights
garments and building projects that use ingenious methods and
construction techniques to create unusual, sculptural
With the recent A-POC lines, Miyake and Fujiwara explored the application of A-POC to furniture design. Trampoline, a knit, and Gemini, a woven, work both as clothing and as chair covers for Arad Ripple Chair (2005).
Like Junya Watanabe's Soiré (or techno Couture) collection,
autumn-winter 2000-2001, designer Tokujin Yoshioka's ingenious
paper Honeypop Chair (2001) makes use of cellular honeycomb
construction, that enables it to be shipped flat and expanded into
it's shapely chair form when unfolded.
The enormous "Tectonic Strategies" gallery, which addresses
seven cross-disciplinary methodologies: "Wrapping," "Folding,"
"Draping," Pleating," "Printing," "Suspension," and "Cantilever,"
reveals how fashion designers and architects employ one or more of
these cross-disciplinary methods.
The exhibition is curated by MOCA Architecture and Design Curator Brooke Hodge. The installation is designed by architects Calvin Tsao and Zack McKown.
A full-color catalog with written entries on each of the
individual architects and fashion designers in the exhibition, as
well as over 500 illustrations is co-published by the Museum of
Contemporary Art, Los Angeles, and Thames & Hudson.
Last updated: December 19, 2013
New Haven, Connecticut,
Los Angeles, USA